巴伦博伊姆和杜普蕾在1967年结婚经常搭档进行室内乐演出，并留下了大量精彩的录音。这给他们提供了一个很好的私密交流空间。虽然杜普蕾早就录制了埃尔加大提琴协奏曲，但是他们期待着能够来一次埃尔加的“回归”
1970年11月，巴伦博伊姆正好在费城管弦乐团担任客席演奏员，杜普蕾也随行。这段录音是他们举行一场音乐会时留下的录音。两人在听过录音后认为这是相当完美一个现场录音：杜普蕾和乐队配合的天衣无缝。这份录音很好地表达了两人的音乐理念：虽然音乐演出碰巧的临场完美发挥，但实际上是实实在在的完美表现而不是几百个演奏员单调的合一。音乐必须能够“呼吸”，是活的，其表达的细微差别是不能用言语来形容的。完美的音乐不仅仅是“正确”，任何一个精心准备的瞬间都有可能出差错。但在这样的场合，任何差错都是正确的。

01 Cello Concerto in B minor, Op.104 - 1. Allegro 15:44
02 Cello Concerto in B minor, Op.104 - 2. Adagio ma non troppo 12:40
03 Cello Concerto in B minor, Op.104 - 3. Finale (Allegro moderato) 12:57
04 Variations on a Rococo Theme, Op.33 - Moderato assai quasi andante 1:00
05 Variations on a Rococo Theme, Op.33 - Tema: Moderato semplice 1:42
06 Variations on a Rococo Theme, Op.33 - Variazione I: Tempo del Tema 0:52
07 Variations on a Rococo Theme, Op.33 - Variazione II: Tempo del Tema 1:13
08 Variations on a Rococo Theme, Op.33 - Variazione III: Andante sostenuto 3:59
09 Variations on a Rococo Theme, Op.33 - Variazione IV: Andante grazioso 1:53
10 Variations on a Rococo Theme, Op.33 - Variazione V: Allegro moderato 3:28
11 Variations on a Rococo Theme, Op.33 - Variazione VI: Andante 2:52
12 Variations on a Rococo Theme, Op.33 - Variazione VII e Coda: Allegro vivo 1:58

01 Phantasia (Based on 'The Phantom of the Opera')
02 The Woman in White Suite

賈桂琳·瑪麗·杜·普蕾，OBE，英國大提琴演奏家。

Disc 1
01 Suite No. 1 in G Major, BWV 1007: I. Prélude 2:38
02 Suite No. 1 in G Major, BWV 1007: II. Allemande 5:20
03 Suite No. 1 in G Major, BWV 1007: III. Courante 3:03
04 Suite No. 1 in G Major, BWV 1007: IV. Sarabande 3:28
05 Suite No. 1 in G Major, BWV 1007: V. Menuets I et II 3:39
06 Suite No. 1 in G Major, BWV 1007: VI. Gigue 1:50
07 Suite No. 4 in E-Flat Major, BWV 1010: I. Prélude 4:14
08 Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande 5:06
09 Suite No. 4 in E-Flat Major, BWV 1010: III. Courante 3:44
10 Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande 5:02
11 Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrées I et II 5:49
12 Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue 2:55
13 Suite No. 6 in D Major, BWV 1012: I. Prélude 5:03
14 Suite No. 6 in D Major, BWV 1012: II. Allemande 8:09
15 Suite No. 6 in D Major, BWV 1012: III. Courante 3:52
16 Suite No. 6 in D Major, BWV 1012: IV. Sarabande 5:47
17 Suite No. 6 in D Major, BWV 1012: V. Gavottes I et II 5:17
18 Suite No. 6 in D Major, BWV 1012: VI. Gigue 4:14

Disc 2
01 Suite No. 2 in D Minor, BWV 1008: I. Prélude 4:10
02 Suite No. 2 in D Minor, BWV 1008: II. Allemande 4:10
03 Suite No. 2 in D Minor, BWV 1008: II. Courante 2:18
04 Suite No. 2 in D Minor, BWV 1008: IV. Sarabande 6:08
05 Suite No. 2 in D Minor, BWV 1008: V. Menuets I et II 3:27
06 Suite No. 2 in D Minor, BWV 1008: VI. Gigue 3:07
07 Suite No. 3 in C Major, BWV 1009: I. Prélude 4:15
08 Suite No. 3 in C Major, BWV 1009: II. Allemande 4:43
09 Suite No. 3 in C Major, BWV 1009: III. Courante 3:49
10 Suite No. 3 in C Major, BWV 1009: IV. Sarabande 5:00
11 Suite No. 3 in C Major, BWV 1009: V. Bourrées I et II 4:35
12 Suite No. 3 in C Major, BWV 1009: VI. Gigue 3:43
13 Suite No. 5 in C Minor, BWV 1011: I. Prélude 8:18
14 Suite No. 5 in C Minor, BWV 1011: II. Allemande 7:14
15 Suite No. 5 in C Minor, BWV 1011: III. Courante 2:54
16 Suite No. 5 in C Minor, BWV 1011: IV. Sarabande 3:37
17 Suite No. 5 in C Minor, BWV 1011: V. Gavottes I et II 5:33
18 Suite No. 5 in C Minor, BWV 1011: VI. Gigue 2:46

富尼埃的录音录于60年代初，大师接近60岁时。这时，立体声录音技术早已成熟。那是个大师录音杰作不断涌现的年代。富尼埃在录制了这个录音之后的年代中，巴赫这套作品逐渐变成了他的演出曲目中的焦点。在1974年，也就是卡萨尔斯死后的第二年，富尼埃应邀到法国南部的普拉德斯(Prades)在卡萨尔斯创立的年度音乐节上演奏这套巴赫组曲。那天在普拉德斯城外的圣米切德卡萨教堂内坐满了听众。他们深深地被富尼埃追思卡萨尔斯的演奏打动。在全曲结束时，没有鼓掌，而是全部听众在寂静中肃立。

C大调第一号钢琴协奏曲,作品完成于1798 年，并于当年在布拉格首演。虽名为《第一号》钢琴协奏曲，却比他的《降 B大调第二号钢琴协奏曲》的完成要晚三年，只是由于前者出版早而被定为第一号。从作品本身来看，第一号比第二号要成熟许多，在管弦乐法上，本曲已加入了单簧管、小号与定音鼓等乐器。这部作品是贝多芬年轻时代的代表作之一。
全曲共分三个乐章：
第一乐章 灿烂的快板，C大调，4/4拍子，协奏风奏鸣曲形式。音乐意气风发， 主部主题坚定有力，副部主题优雅柔美。 整个乐章旋律虽然平稳，但渐渐装饰得异常华丽，主奏钢琴的技巧性很强。
第二乐章 最缓板，降A大调，2/2拍子，三段体。 曲调抒情、柔美，平缓如歌的主题平和、安宁，充满希望。
第三乐章 诙谐的快板，C大调，2/4拍子，回旋曲形式。主奏钢琴若无其事地奏出了回旋主题，显得非常轻快，错落有致的节奏显得朝气蓬勃。随后是管弦乐充满气势的反复，主奏钢琴在发展部分，充分体现出作者日趋成熟的作曲技巧。最后，在一种排山倒海的气势之下，全曲结束。
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贝多芬为小提琴、大提琴、钢琴与乐队而作的《三重协奏曲》 (作品56号) 与那些具有反映历史重大题材与博大精深充满人类至爱、每个音符都迸发着思想火花的交响曲相比有着很大的差别．这首《三重协奏曲》创作于1803年．当时愤世嫉俗的贝多芬在写作他的《英雄交响曲》的同时, 又要为取悦于他的一位贵族学生同时也是他的主要经济赞助人鲁道夫公爵而创作．这位鲁道夫公爵曾经当了贝多芬20多年的钢琴学生, 在此期间他曾经给予过贝多芬以极为丰厚的报酬与物质资助, 从而使贝多芬能得以减轻生活的重负而专心从事作曲并为世人留下了众多的惊世骇俗之作．从这个意义上讲, 鲁道夫公爵的善举确实值得称颂．贝多芬为了感谢公爵遂决定创作一首作品题献给他, 以示回报．运用什么体裁写作使贝多芬大伤脑筋, 虽然当时公爵已做了贝多芬多年的学生, 但据资料证实, 鲁道夫公爵的琴艺仍属极为一般．贝多芬为了让这位特殊的学生能在当时的上流社会社交场所中具有显山露水公开上台演奏的机会与能力, 于是在反复思量后便决定采用以三重奏协奏曲的形式来进行音乐创作．
《三重协奏曲》(即《C大调钢琴、小提琴与大提琴协奏曲》)是贝多芬运用小提琴、大提琴、钢琴三件乐器的组合与交响乐队相对置形式写成的一首协奏曲．在这首作品中, 贝多芬将室内乐纤细温暖的重奏形式与大型的具有磅礴气势的交响性协奏曲形式有机地结合在一起, 从而产生出一种生机盎然的新形式．虽然这一形式并非由贝多芬所创立, 并且这首乐曲的艺术成就和音乐价值在音乐史上也不能算做是经典之作, 但是它的问世及音乐表现力的充分展现, 却为以后的浪漫主义创作拓宽了思路、树立了典范．

德沃夏克的《大提琴协奏曲》是继《新大陆交响曲》之后，晚年最重要的作品。而且还可以说，比起“新大陆”来，这首协奏曲是更真率、更诚恳的，其中饱含着作者本人更多、更深、更有质量的人生体验和复杂情感。三个乐章都笼罩在一个整体性的苍凉感之中。音乐是美丽的，却也饱经风霜，有一股烈士暮年的萧瑟之气，令人想起布拉姆斯的晚年作品。（文字摘自李杭育《经典唱片》)

演奏巴赫这六首无伴奏组曲，最富于启示性的也是最早的权威的版本，当然是卡萨尔斯3O年代后期的这个录音。这些组曲曾被相当多的音乐家演绎，卡萨尔斯的浑厚有力，富尼埃的舒展如歌，罗斯特罗波维奇轻盈而显得匆忙，初听上去简直就象不同的作品。卡萨尔斯的录于30年代(36年至39年)大师刚过了60岁之后。我一向怀疑四十年代和之前的所谓历史录音，认为无论上一代大师们的演奏如何精彩，但毕竟录音技术有限，很难保留真实的演奏的音响。如果把罗斯特罗波维奇的演奏看作一幅色彩斑谰的油画。卡萨尔斯就是早先古朴的铜版画，线条坚实挺劲，具有难以想象的力度，像是凸现于整个画面之上种线条一旦在你面前显出须眉皆动而欲飞舞之状时，真是要令人心魄俱与的。巴赫的精神，在这里始终是回荡在音乐的空间之中，而不是从中沁出来。
卡萨尔斯手指的力量惊人，不知是否得益于他边拉琴边抽雪茄的缘故，大提琴像是他的一件玩具。长期来，卡萨尔斯的这套录音已被公认为为这个作品的里程碑式的权威演绎。他的这一成就来自他对这部巴赫巨着的长达几十年的精心研读和作品精髓的发掘。据他自述，从13岁时他在一家旧书店发现这套作品的乐谱开始，他在这套作品上每天研读练功12年，到25岁才鼓起勇气第一次公开演奏其中的一部全曲。又过了35年，才在录音公司的长期不断催促之下答应录制这套作品，使我们今日能得以领略一代大师对这套作品的解读。

《巴赫：无伴奏大提琴组曲》(BWV1007-1012)，大约作于1717年的克滕宫廷。这一套组曲采用标准的古典组曲形式，由数种古典舞曲组成。当时克滕宫廷中有两位古大提琴演奏家阿贝尔与李尼希克，巴赫以这两位演奏家作为对象作成这套组曲。这套组曲谱系巴赫的第二位妻子安娜·玛格达琳娜抄录，原谱没有速度标记。现在这套组曲的速度标记有多种历代著名大提琴演奏家所标标志，公认的版本是19世纪著名大提琴家贝尔卡所标，卡萨尔斯所标版本也极为重要。
演奏者皮埃尔·富尼埃（Pierre Fournier 1906-1986）是20世纪法国著名的大提琴家，以演奏风格高雅、情感浪漫著称。富尼埃的录音录于60年代初，大师接近60岁时。这时，立体声录音技术早已成熟。那是个大师录音杰作不断涌现的年代。富尼埃在录制了这个录音之后的年代中，巴赫这套作品逐渐变成了他的演出曲目中的焦点。在1974年，也就是卡萨尔斯死后的第二年，富尼埃应邀到法国南部的普拉德斯(Prades)在卡萨尔斯创立的年度音乐节上演奏这套巴赫组曲。那天在普拉德斯城外的圣米切德卡萨教堂内坐满了听众。他们深深地被富尼埃追思卡萨尔斯的演奏打动。在全曲结束时，没有鼓掌，而是全部听众在寂静中肃立。
皮埃尔·富尼埃的《巴赫：无伴奏大提琴组曲》共有三套录音(另外两个版本为TDK和Philips)，且尤以这个版本最受欢迎，他的速度舒缓，节奏把握恰到好处，几乎是所有版本中最为合理妥帖者。音色温厚，内涵深刻，情感流露自然，这个演奏如娓娓道来而又虚怀若谷，并不以表现自我为目的却自有个性，且拥有一种浓烈的慈父性格，恰与巴赫人格与作品特有之父性相契合。且录音优良，确实是首选版本。

In a long and distinguished career, Gregor Piatigorsky by his virtuoso performances transformed the cello into a solo instrument of the highest order. On this collection Piatigorsky creates musical fireworks with the Boston Symphony Orchestra under the baton of Charles Munch.

THE YOUNG FEUERMANN
It is said that Pablo Casals (1876-1973) raised the position of the Cello from that of respected orchestral member to popular solo instrument, and few would disagree. Yet by the time of his 1937 recording of the Dvorak Cello Concerto there are already signs of the cautious approach which might have been expected from a man over sixty; at the onset of war he ceased playing altogether, and by the time he consented to break his silence of political protest in 1950, he was very clearly wellpast his prime. His successorfrom 1039, a man who it was hoped and expected would elevate the status of his instrument still further was the young Polish/Jewish cellist Emanuel Feuermann (1902-1942) who, tragically, died atthe age of thirty-nine, before he Could properly fulfil that expectation.
Feuermann's recorded legacy however suggests that he was already, in the years of his prime,fully the equal of his famous rival. That he was not more highly thought of during the 'thirties may be put down to the facts that he worked in the shadow of the already established Casals, and that his professional life was badly disrupted by the Nazis. Pearl's series: "Emanuel Feuermann- The English Columbia Recordings" [GEMM CD 9442/ 9443/9446] has already provided ample evidence of his greamess, and the present reissue endorses this by presenting superb recordings (with the Dvorak Concerto as centrepiece) made during the 'twenties, some of them dating as far back as 1921. Much of the material robe heard here is extremely rare, comprises music which he did not later re—record commercially，and has not，as far as we know,been reissued previously on CD．
He was born on 22 November 1902 in Kolema，Galicia，to a musical family．Mthough he was not particularly distinguished academically at school his cello studies from the age of seven progressed rapidly．His Vienna debut in 1913 was a tremendous success and immediately the boy was hailed a prodigy．After playing in a variety of Austrian and German orchestras during the First World War．young Feuermann was engaged as head of the cello department at the Cologne Conservatorium in 1919，aged just 17．He continued until 1 923 when the added pressures of being a touring virtuoso reduced his time for teaching．At the age of 27 he became the head of the cello de Partment at the Berlin Hochschu le，holding the post until dismissed by the Nazi regime in 1933．His subsequent lncreased worldwide touring schedule meant that he had no permanent base．Eventually he settled in Zurich where he continued to give master classes when available to do so．In 1938 Emanuel Feuermann and his wife emigrated to the United states，lWing first in New York and later on the West Coast where he played and recorded chamber music with Violinist Jascha Heifetz and pianist Arthur Rubinstein．Feuermann was then appointed to the teaching staff at the Curtis Institute in Philadelphia but in the early part of 1942 moved to New York where he died on 24 May aged just 39．
Feuermann’s account of the Dvorak Concerto was recorded in 1928(the first two movements) and in 1929(the third)and although the recording venue was the saine，there are some djfferences in sound characteristic；these have been minimised by the equalisation used during the preparation of the present reissue．Here is the mature Feuermann in resplendent golden tone，able to make 1ight of the technical problems posed by this extremely difficult work．His approach is brisk．youthful and exhilarating．and in this he is assisted by the conductor Michael Taube，who unfortunately has charge of a decidedly sub—standard studio orchestra．one may think it surprising that Feuermann was notasked——a short while after——to re—make this staple of the cellist's repertoire，but it should however be remembered that by the early’thirties Parlophone had amalgamated with both Columbia and HMV．and the Casals 1 937 recording of this work would have precluded any such possibility．(It was planned,after he had reached America，that Feuermann should soon make a new version，but he died before this could be achieved．)
The conductor Michael Taube，who will be encountered in this compilation also as Feuen'nann‘s pianist，was born in Lodz，Poland．in 1890．He studied at Leipzig Gewandhaus，then went to Cologne，where he met Feuermann．Later joining the Berlin state opera．he became assistant to Bruno Walter．In 1935 Taube went to Palestine wherehehelpedintheformative years of the Palestine(now Israel)Philharmonic orchestra，and was in the post—war years a well—known figure on the European musical scene．He died in 1972．
Bruch’s Kol Nidrei is another mainstay of the repertoire and here Feuermann plays this instrumental rendering of a segment of Jewish liturgical music as conceived by Bruch——who was not Jewish—for all it's worth．This 1930 recording is a rarity，having been issued in France and America but not，apparently,here.We have had to work from a rather poor French pressing．An even greater rarity is the record offering the slow movement and finale of the Haydn D major concerto——not surprisingly，for it was recorded very late in 1921．when Feuermann would have been only just nineteen．It says much for this player of a then distinctly non—illustrious instrument that he was invited to make a recording so young，and even more so that he was allowed orchestral accompaniment．We can here discern the renowned burnished tone．although the limitations of the primitive recording prrocesses of the time make is impossible to tell whether he already possessed the‘edge’on his delivery which is heard to such thriling effect in the Dvorak Concerto recording of seven years later．one obvious feature of Feuermann's playing here is his use of portamento,which may be discerned also in the ensuing Popper piece．
David Popper(1843—1913)was principally a composer of music for the cello—an instmment of which he was a famous player——and wrote four concertos for it，plus numerous smaller pieces．He toured extensively as a soloist，and was a member of the Hubay Quartet．He was also a close personal friend of Casals．Popper’s shoffer works were once in the repertoire of almost every cellist，and the serenade is an excellent example．
Also amongst the cellist’s standard mainstays is the Allegro Appassionato of Saint—Saens，composed in 1875．This effective but brief piece proves an ideal vehicle for Feuermann’s verve and panache．Sarasate’s Zigeunerweisen was of course composed originally fof violin，but transposes down perfectly well for cello．our recording shows Feuermann at his incomparable best，and the recording sound is mostly very good．And what about the pyrotechnical finale for which one waits with bated breath，but in vain?Apparently he never made it．The official Calland／Itzkoff discography makes no reference to such a recording， not 11as Keith Harvey(the distinguished cellist and collector)every heard of one. What a pity．for it would surely have been one of the most exciting cello records ever made! The three pieces heard next comprise something of a mixed bag．The dance by Granados (1867—1916)was composed originally for solo piano，and is usually known as Andaluza． The Caro mio ben of Giordani (1733—1806)is an aria，but sounds uncommonly well as a cello solo in Feuermann's eloquent and finely—phrased performance．The Min uet by the 0bscure Valensin has much charm and elegance．
We conclude with a major rarity：Popper's Hungarian Rhapsody．so little is known about this recording that it features in Calland／Itzkoffonly in the“other recordings have been reported to exist”category，this one being reportedly made“C．1926”．It is in fact clearly an acoustic，and so must be earlier than that．Feuermann’s stylish perform—ance of this bravura piece could not be excluded，despite the record。s bad condition(it is terminally cracked in three places)as it is—as far as Keith Harvey is aware—the only copy known to exist．
Charles Haynes